ATELJE 61 – N OVI SAD TAPISERIJE SODOBNE SRBSKE UMETNOSTI TAPESTRY IN MODERN SERBIAN ART
NADA POZNANOVIĆ ADŽIĆ Trije objekti v prostoru, 1996 450 x 52 cm; 450 x 52 cm; 550 x 60 cm Volna, kombinirana tehnika Soavtorice: Ana Šijački, Rada Ilić, Jelena Božić, Milica Subotić
Three objects in an empty space, 1996 450 x 52 cm; 450 x 52 cm; 550 x 60 cm Wool, combined technique Co-authors: Ana Šijački, Rada Ilić, Jelena Božić, Milica Subotić
Na naslovnici / Cover page MILENA RISTIĆ Dobro jutro ..., 2005 161 x 230 cm Volna, plastične aplikacije, tapiserijska tehnika Soavtorici: Vesna Grbić, Žužana Toth Vanger
Good morning ..., 2005 161 x 230 cm Wool, appliqués, plain technique Co-authors: Vesna Grbić, Žužana Toth Vanger
Eva Ilec
UMETNIŠKA DELAVNICA ZA TKANJE TAPISERIJ ATELJE 61 Tapiserija se je v nekdanjem jugoslovanskem kulturnem prostoru kot posebna avtonomna likovna zvrst v dekorativni tkani stenski umetnini začela uveljavljati v začetku šestdesetih let prejšnjega stoletja. Njeno likovno izraznost z značilno strukturo tkanine je bilo mogoče občudovati v javnih prostorih, kjer je bila vedno bolj prisotna kot del notranje opreme. K vse večji prepoznavnosti je pripomogla tudi ustanovitev Ateljeja 61, umetniške delavnice za tkanje tapiserij v Novem Sadu. Ustanovitelja slikar Boško Petrović in ustvarjalka v tapiseriji Etelka Tobolka sta v Petrovaradinski trdnjavi leta 1961 ustanovila edinstven center, enega izmed maloštevilnih v Evropi, v katerem tkejo, negujejo, hranijo in predstavljajo umetnost tapiserije še danes. Med številnimi slikarji, ki so izdelali likovne predloge oziroma kartone za tapiserije, so bili tudi priznani slovenski umetniki, katerih tapiserije so razstavljene v galerijah, drugih javnih zavodih in privatnih zbirkah pri nas in tudi po svetu. Umetniški ustvarjalci v govorici tapiserije so bili v letih od 1962-2007 France Slana, Janez Bernik, Lojze Spacal, Marij Pregelj, Zoran Mušič, Boris Kobe, Stane Kregar, Jože Ciuha, France Mihelič, Andrej Ajdič, Miha Maleš, Bogdan Grom in Zora Koren Skerk. Pokrajinski muzej Ptuj – Ormož je z ustanovitvijo restavratorskega ateljeja za tekstil v začetku osemdesetih let prejšnjega stoletja s strokovnim vodstvom zagotovil izvajanje zahtevnih konservatorsko-restavratorskih posegov na poškodovanih tapiserijah, ki jih hrani v grajskih zbirkah, kar je pripomoglo k vse večjemu povpraševanju po ustrezni negi in hranjenju tudi sodobnih tapiserij v Sloveniji. Med njimi so tudi tkane mojstrovine iz umetniške delavnice v Novem Sadu. Tako je muzej prevzel hranjenje osmih tapiserij iz Ateljeja 61, narejenih leta 1967 po predlogah enega izmed najpomembnejših slovenskih slikarjev v drugi polovici 20. stoletja, Marija Preglja, so pa v lasti KOTO d.o.o. iz Ljubljane. Zbirko ptujskega muzeja bogati še pet tkanih umetnin iz novosadske delavnice, stkanih v sedemdesetih in osemdesetih letih 20. stoletja po likovnih predlogah slikarja Franceta Miheliča. S predstavitvijo umetniške delavnice za tkanje tapiserij v Novem Sadu, ki nam razkriva sodobno srbsko umetnost v dekorativni tkani strukturi, želimo poleg obhajanja ustanovitve ptujskega muzeja pred stodvajsetimi leti opozoriti tudi na pomembnost ohranjanja te monumentalne tekstilne dediščine, ki je v slovenskem prostoru ni posebno veliko. Razstava tapiserij iz Ateljeja 61, predstavljena kot edinstvena likovna poezija je dragoceno umetniško darilo javnosti.
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ATELJE 61, ARTISTIC ATELIER FOR TAPESTRY MAKING At the beginning of the 60s of the 20th century, tapestry, as a special autonomous fine art form, established itself in the then Yugoslav cultural sphere as a part of decorative, woven form of textile arts. Due to its artistic expression and typical textile structure, the tapestry was commonly present in various public spaces and was considered as a constituent part of the interior equipment. To its general recognition largely contributed the establishment of ATELJE 61, artistic atelier for tapestry weaving in Novi Sad, Serbia. Boško Petrović, painter, and Etelka Tobolka, tapestry maker, founded in 1961 in the fortress of Petrovaradin a unique centre, ranging among the few such centres in Europe, where the art of tapestry is presented through weaving, nursing, preservation and conservation. Among numerous painters who created designs and cartons for tapestries range some of well-known Slovene artists whose tapestries are exhibited in galleries, public institutions and private collections home and abroad. Thus, between 1962 and 2007, the most popular Slovene artists in terms of tapestries were: France Slana, Janez Bernik, Lojze Spacal, Marij Pregelj, Zoran Mušič, Boris Kobe, Stane Kregar, Jože Ciuha, France Mihelič, Andrej Ajdič, Miha Maleš, Bogdan Grom and Zora Koren Skerk. Regional museum Ptuj-Ormož established a restoration workshop for textiles at the beginning of the 80s of the 20th century, thus ensuring the expert guidance and conservation and restoration procedures of the damaged tapestries kept in the castle of Ptuj; consequently, the creation of the workshop led to an increased demand of preservation and taking care of the modern tapestry in Slovenia. Some masterpieces woven in the artistic workshop in Novi Sad were subject of one such demand and the Ptuj museum accepted to preserve and keep eight tapestries from ATELJE 61 made in 1967 after the designs of one of the most important Slovene painters from the second half of the 20th century, Marij Pregelj; the tapestries belong to KOTO Ltd., Ljubljana. The collection in the Ptuj castle is completed by five woven masterpieces also manufactured in Novi Sad in the 70s and 80s of the 20th century after the designs of the painter France Mihelič. The presentation of the artistic atelier for tapestries from Novi Sad, exhibiting the modern Serbian decorative textile art, is meant to celebrate the 120th anniversary of the Ptuj museum and aims at showing the importance to preserve this monumental textile legacy which is not very common in Slovenia. The exhibition of tapestries coming from ATELJE 61 is a unique fine-art poetry and represents an invaluable artistic gift to the general public.
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TAMARA JELAČA Usta ob ustih, 2003 6 x (98 x 84 cm) Volna, tapiserijska tehnika, vezenina Soavtorice: Radojka Ilić, Jelena Božić, Tamara Jelača
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Mouth to mouth, 2003 6 x (98 x 84 cm) Wool, plain technique, needlework Co-authors: Radojka Ilić, Jelena Božić, Tamara Jelača
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Goranka Vukadinović umetnostna zgodovinarka
AVTENTIČNA TAPISERIJA Z zanimivo združitvijo stare obrti tkanja s sodobno umetnostjo je Atelje 61 v več kot pol stoletja, kolikor je že navzoč na likovnem prizorišču, obogatil kulturno dediščino Srbije z avtonomnim medijem tapiserije. Ob kakovostnih temeljih, na katerih se je razvijal, in težnji k visokim umetniškim dosežkom na tem področju je Atelje 61 postal edini celoviti profesionalni tapiserijski center na Balkanu. Iz te posebnosti se je rodila zamisel, da bi prvotno dejavnost – delavniško izdelovanje tapiserij – razširili. Ustanova, ki ima eno najbogatejših zbirk tapiserij v Evropi, se lahko pohvali s svojevrstno galerijo tapiserij in mednarodno kolonijo, poimenovanima po ustanovitelju slikarju Bošku Petroviću, s šolo tkanja in bogato založniško in razstavno dejavnostjo. Atelje 61 se vse od ustanovitve (leta 1961) ukvarja s tradicionalnim izdelovanjim tapiserije in ostaja zvest klasično tkani tapiseriji, pri čemer pa dokazuje, da še vedno obstajajo neraziskana področja, ki jih je treba šele odkriti. Sodelovanje s številnimi domačimi in tujimi umetniki, ustvarjalci likovnih predlog za tapiserije, je pripomoglo k likovni kompetentnosti tkalcev in pripeljalo idejno-kreativni proces do točke, ko čistost medija postaja vprašljiva, vztraja pa se pri avtentičnosti tapiserije kot umetniškega dela.
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JADRANKA SIMONOVIĆ Slike iz albuma III, 2008 60 x 600 cm Lan, konoplja, kombinirana tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Photographs from album III, 2008 60 x 600 cm Flax, hemp, combined technique Co-authors: Eva Đukić, Mirjana Dobanovački
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Svojo že sicer zahtevno eksistenco v umetnosti si je tapiserija izbojevala z izvirnostjo idej in prepričljivo invencijo umetnikov, ki so razumeli prednosti te vrste likovnosti. A čeprav je tapiserija že dolgo znana po avtohtoni in v zgodovini dokazani kakovosti, še vedno ni dovolj glasna v široki umetniški javnosti in nima položaja, ki bi ji upravičeno pripadal. Pravilno umestitev in vrednotenje tega medija ovirata nepotrebno spogledovanje umetnikov z modnimi trendi in popularno psevdokulturo pa tudi njihovo zavestno strinjanje z imitativnimi odnosi z drugimi umetniškimi panogami, najpogosteje s slikarstvom. Prav zato se v dolgi zgodovini zahodnoevropske tapiserijske umetnosti ritmično izmenjujejo razcvet, dekadenca in renesansa. Ta problematika pojasnjuje tudi razvoj tega likovnega medija kot ene izmed najmlajših umetniških panog na tleh nekdanje Jugoslavije oziroma danes Srbije. Začetke v ne tako davni preteklosti (brez tradicije, če odmislimo veščino tkanja in vezenja v domači folklorni dediščini) je zaznamovalo umetniško iskanje specifičnega tapiserijskega izraza. Tudi Atelje 61 je v nenehni težnji k aktualnosti trenutka, stanja, pojavov in razmer v umetnosti nasploh še posebno v prvih letih delovanja pristajal na kompromisne rešitve v tapiseriji, predloge (slike ali grafični listi) so bile formalno prilagojene dekorativnemu konceptu. Zaradi tega je razumljivo nenehno zavzemanje, da bi pojasnili in definirali vsebino, pomen, estetiko in poetiko tega medija. Prizadevanje umetnikov, likovnih kritikov, umetnostnih zgodovinarjev in teoretikov, da prek vzporednega vrednotenja umestijo tapiserijo v konkretne znane likovne okvire, je ustvarilo nove izraze, pogosto omalovaževalne in ne nujno ustrezne tej vrsti umetnosti (npr. slika v volni, kopija slike ipd.). Če hočemo pravilno definirati in ovrednotiti tapiserijo v okviru sodobne umetnosti, moramo poudariti nujnost sinergije tradicionalne tapiserije z novimi oblikami, ki enakopravno sobivajo v prepletanju in medsebojnem oplajanju. Avtonomno tapiserijo, neodvisno od slikarskih in grafičnih predlog, so umetnostni zgodovinarji in teoretiki opisali kot 'tapiserijo lastne poti' (Miloš Arsić) ali 'umetnost obarvane strukturirane niti (dr. Mirjana Teofanović). Na začetku sedemdesetih let 20. stoletja, ko je bila pristnost tapiserije kot likovnega medija pogosto kritizirana, so se začeli uveljavljati avtorji, ki so svoj izraz v tapiseriji začeli iskati na akademijah in fakultetah za uporabno umetnost, potrdili pa so se kot uresničeni tapiseristi. Izhodišče svojih zamisli so našli v primarnih elementih tkanja in v izzivih, ki jih ponuja material. Ti umetniki s sugestivnostjo novih pristopov k likovnosti v okviru tega medija enakopravno sodelujejo v sodobnih tokovih svetovne tapiserije. Idejni impulz so pripeljali do točke, ko je izvirnost tapiserije postala imperativ umetniškega delovanja in edini razlog za nadaljnje eksperimentiranje. Tkane forme, osvobojene deskriptivnosti in naracije, večinoma povečujejo plastičnost dela in drugačno slikovnost s pogostim uvajanjem tretje dimenzije in z vključevanjem v prostor – ambient tako postane neločljiv del tkane celote. Eksperimentiranje je pomembna, celo neizogibna postavka, iz katere umetnik izhaja pri variiranju in transformiranju primarnega in prepoznavnega obrazca, vezanega na tekstilne materiale in tehnike. V zadnjih nekaj desetletjih so se v tej vrsti likovnosti, zahvaljujoč globalizaciji umetnosti, oblikovali postulati novih likovnih estetik, ki s kombiniranjem medijev, novimi tehnologijami in materiali in predvsem s pluralizmom miselnega procesa in socio-kulturne osveščenosti umetnikov vse bolj suvereno prinašajo nova merila vrednotenja. Sodobni tapiserijski izraz je rezultat bogastva informacij, ki jih vsebujejo niti kot osnovno gradivo tapiserijske umetnosti. Nit ali vlakno različnega izvora, z različnimi lastnostmi in vizualno-taktilnim vtisom sta izziv sama po sebi, žarišče in jedro. Tapiserija kot celota postane motiv in tema. Pri tako zasnovanih delih, ki se ukvarjajo z vprašanji posodobitve medija, se bistveni momenti kažejo tako v formi kot v slikovni vrednosti, pa tudi v premišljeno izbranih materialih in v vtisu različnih tehnik izvedbe. S prodorom novih likovnih elementov, prostih tehnik in netipičnih materialov v jezik tapiserije je ob hkratnem nadaljevanju preizkušenih tradicionalnih prijemov nastala prepričljiva nova identiteta avtentičnega vizualnega jezika tapiserije. K temu so pripomogli predvsem interdisciplinarno in raziskovalno usmerjeni umetniki tapiseristi z izrazitim občutkom za elementarne značilnosti tega medija. Pri oblikovanju načel tapiserijskega medija v našem prostoru – še posebej ko razmišljamo o kvalitetah klasične ali tradicionalne tapiserije – so bili za bogatenje zbirke Ateljeja 61 pomembni natečaji za tapiserijo, ki so zahtevali individualne umetniške lastnosti, predvsem izvirnost in različnost likovnih poetik. Od leta 1988, ko je bila uresničena zamisel o ustanovitvi prve, tedaj jugoslovanske, danes pa mednarodne kolonije tapiseristov je sodelovanje z umetniki, ki se ukvarjajo predvsem s tapiserijo, prineslo dragocene izkušnje, iz katerih se je razraslo prostrano polje za eksperimentiranje in raziskovalno delo. Zamisli teh avtorjev, ubesedene s premišljenimi vizualno-taktilnimi elementi, so pripomogle k raznovrstnosti edinstvene Zbirke tapiserij Ateljeja 61. Visoki dosežki tapiserijskih del avtorjev iz Srbije so kakovost, ki kljub ne ravno velikemu številu tapiseristov ne preseneča, in sicer predvsem zaradi raziskovalnega dela in večdesetletnega zanesenjaškega prizadevanja za enakopravno sodelovanje v svetovnih umetniških tokovih, celo kadar razmere tega niso omogočale in kljub slabemu položaju umetnosti in zapostavljenosti kulture nasploh.
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Goranka Vukadinović Art historian
AUTONOMOUS TAPESTRY The genuine combination of old fashioned way of weaving and modern art has kept ATELJE 61 for more than 50 years on the fine-arts market, and at the same time it has enriched the cultural heritage of Serbia with an autonomous art form – tapestry. The solid basis which served as a starting point and the strivings to achieve top quality results led ATELJE 61 to become the only complex and professional centre of tapestry in the Balkans. Such excellent position on the market favoured the idea to further develop the primary activity, i.e. the manufacture of tapestries. Nowadays, the institution boasting one of the richest tapestry collections in Europe is a proud owner of a peculiar gallery of tapestries, an international artistic colony named after the founder, the painter Boško Petrović, the school of weaving and rich publishing and exhibition activities. Since its establishment in 1961, ATELJE 61 has been involved in the traditional way of tapestry making thus drawing attention to unexplored areas in this domain which are still to be discovered. The improvement of artistic competencies of weavers was undoubtedly due to the collaboration of numerous national and foreign artists and designers which consequently led the process of creation to the point at which the purity of this art form became questionable while the authenticity of tapestry as a work of art was respected.
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BRANISLAV SUBOTIĆ Karnevalski ples, 2004 222 x 200 cm Volna, tapiserijska tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Carnival dance, 2004 222 x 200 cm Wool, plain technique Co-authors: Eva Đukić, Mirjana Dobanovački
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Tapestry now holds a special place among different art forms which is due to genuine ideas and convincing invention of the artists who were able to understand all advantages offered by this type of artistic expression. However, despite the fact that the tapestry has been long known for its autochthonous quality proved numerous times, it is still too often neglected and displaced. The positioning and evaluation suitable for this particular form mostly results from the superfluous consideration of fashion trends by modern artists and the popular pseudo-culture as well as their conscious agreement on imitative relations with other artistic expressions, namely with fine arts. It is precisely for this reason that the long history of western European artistic tapestry has known periods of prosperity, decadence and renaissance. The facts described above explain the development of this particular artistic expression as being one of the youngest on the territory of former Yugoslavia and present Serbia. Its beginnings of rather recent origin and devoid of tradition, except for the weaving and embroidery skills of the local folklore heritage, were marked by the artistic research of a specific expression of the tapestry. In its first years of existence, ATELJE 61 was constantly striving to capture the present moment, situation, phenomena and conditions in the art in general, and therefore had to adopt compromising solutions meaning that designs (drawings and graphics) were formally adapted to a decorative concept. Hence content definitions and constant explanations of the meaning, aesthetics and poetics of this artistic expression seem rather logic. Artists, art critics, art historians and theorisers have been striving to position the tapestry within well-established artistic limits by means of a parallel evaluation which brought to existence new expressions often inadequate and depreciating of this art form, such as “an image in the wool”, a copy image, etc. In order to properly define and evaluate the tapestry within the scope of modern art it is necessary to emphasise the importance of the synergy between the traditional tapestry and new forms which intertwine and mutually complete each other. Autonomous tapestry independent of paintings and graphic designs was described by art historians and theorisers as the “tapestry of its own way” (Miloš Arsić), or as the “art of the dyed and structured yarn” (dr. Mirjana Teofanović). At the beginning of the 70s of the 20th century, the authenticity of tapestry as an art form was often criticised which resulted in the recognition of authors who found their own artistic expressions in tapestry at academies and faculties of applied arts, and who later confirmed themselves as accomplished tapestry-artists. Their concepts and ideas resulted from primary weaving elements which they combined with challenges offered by the material. The suggestiveness in new approaches to artistic expression of the tapestry ranges these artists on equal levels within the framework of modern trends of the tapestry worldwide. They have brought their impetuous idea to the point where the originality of tapestry has become a must of artistic workmanship and the only reason for further experimentation. Woven forms, when free of description and narration, mostly increase the relief and bring out the imagery due to the third dimension and inclusion in space – ambient thus becomes inseparable part of the woven surface. The experimentation becomes an important or rather inevitable element as a starting point for the artist’s variations and transformations of the primordial and recognisable design related to textile materials and techniques. In the few past decades and due to the globalisation of art, postulates for new aesthetics in art have been formed; the combination of different forms, new technologies and materials, but especially the pluralism of thought and socio-cultural awareness of artists have created circumstances for new means of evaluation. Current expression in tapestry results from the richness of information contained in the yarn as the basic device of the tapestry-art. A yarn or a fibre of different origin, different characteristics and different visual-tactile impressions represent a challenge in itself, a focus and a core. The tapestry in its whole becomes a motif and a theme. The conception of works primarily designed to modernise the tapestry reveals its essential elements in the form and image quality, the carefully chosen materials and different weaving techniques. The introduction of new artistic elements, techniques and uncommon materials into the language of tapestry combined with the already experimented traditional ones caused the creation of a convincing new identity of authentic visual language of the tapestry. The major role in this process was played by interdisciplinary-oriented and research-directed tapestry artists with their exceptional sense for elementary characteristics of the tapestry. The formation of principles of the tapestry in our environment – especially when talking about the quality of classic and traditional tapestry – largely benefited from various organised competitions which enriched the collection of ATELJE 61 and where individual artistic characteristics, namely originality and variety of artistic poetry, were sought for. Since 1988, when the idea to establish the first Yugoslav (nowadays international) colony of tapestry-artists came true, the collaboration with artists mainly engaged in tapestry has brought valuable experience thus creating a space for experiment and research. The authors’ ideas put into words through deliberate visually-tactile elements have largely contributed to the variety of the unique Tapestry Collection of ATELJE 61. Outstanding achievements of Serbian tapestry artists represent exceptional quality which, despite their relatively small number, does not come as a surprise and is mainly due to their research work and to more than a decade long enthusiastic strivings for equality in artistic trends worldwide, even when circumstances were not favourable for such collaboration and the culture and art seemed to be neglected and left behind.
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MAJA ŽIŽAKOV Vrt, 2010 194 x 140 cm Konoplja, kombinirana tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Garden, 2010 194 x 140 cm Hemp, combined technique Co-authors: Eva Đukić, Mirjana Dobanovački
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NATAŠA TASIĆ BANIĆ Za oknom, 2004 250 x 110 cm Volna, efektna preja, tapiserijska tehnika Soavtorica: Vesna Grbić
Behind a window, 2004 250 x 110 cm Wool, fancy yarn plain technique Co-author: Vesna Grbić
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TAMARA VASILJEVIĆ Jazzisti, 2012 218 x 139 cm Volna, tapiserijska tehnika Soavtorici: Mirjana Dobanovački, Željka Popadić Jazz musicians, 2012 218 x 139 cm Wool, plain technique Co-authors: Mirjana Dobanovački, Željka Popadić
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SMILJANA HADŽIĆ Tok, 1985 235 x 100 cm Volna, kombinirana tehnika Soavtorici: Zuzana Andrašik, Eva Đukić
Flow, 1985 235 x 100 cm Hemp, combined technique Co-authors: Zuzana Andrašik, Eva Đukić
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SMILJANA HADŽIĆ Pretok, 1986 2 x (300 x 60 cm) Volna, tapiserijska tehnika Soavtorica: Zuzana Andrašik
Flowing thorough, 1986 2 x (300 x 60 cm) Wool, plain technique Co-authors: Zuzana Andrašik
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NADA POZNANOVIĆ ADŽIĆ Objekti v prostoru, 1994 425 x 50 cm; 385 x 50 cm Volna, sisal, kombinirana tehnika Soavtorice: Tereza Horvat, Rada Ilić, Eva Đukić
Objects in an empty space, 1994 425 x 50 cm; 385 x 50 cm Wool, sisal, combined technique Co-authors: Tereza Horvat, Rada Ilić, Eva Đukić
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VERA RADOVANOVIĆ MARKOVIĆ Globoko modro, 2003 290 x 92 cm Volna, PVC folija, tapiserijska tehnika Soavtorici: Eva Ðukić, Vesna Grbić
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Deeply blue, 2003 290 x 92 cm Wool, PVC, plain technique Co-authors: Eva Ðukić, Vesna Grbić
DUŠANKA BOTUNJAC Cubus aurea (ciklus Carski zapisi), 2008 255 x 125 cm Konoplja, efektna preja, kombinirana tehnika Soavtorici: Rada Ilić, Jelena Božić
Cubus aurea (Imperial notes period), 2008 255 x 125 cm Hemp, fancy yarn, combined technique Co-authors: Rada Ilić, Jelena Božić
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SUZANA GOJNIĆ Tao, 2001 382 x 125 cm Konoplja, pliš, kombinirana tehnika Soavtorice: J elena Božić, Žužana Toth Vanger, Mirjana Dobanovački
Tao, 2001 382 x 125 cm Hemp, plush, combined technique Co-authors: J elena Božić, Žužana Toth Vanger, Mirjana Dobanovački
JAGODA BUIĆ Tapiserija V, 1972 265 x 140 cm Volna, kombinirana tehnika Soavtorici: Vidosava Ostojić, Ružica Isakov
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Tapestry V, 1972 265 x 140 cm Wool, combined technique Co-authors: Vidosava Ostojić, Ružica Isakov
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BOŠKO KARANOVIĆ Trg I, 1996, 2006 118 x 210 cm Volna, tapiserijska tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Square I, 1996, 2006 118 x 210 cm Wool, plain technique Co-authors: Eva Đukić, Mirjana Dobanovački
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BOŠKO PETROVIĆ Nadstropne postelje, 1977 138 x 205 cm Volna, tapiserijska tehnika Soavtorici: Milenka Isakov, Smilja Živanović
Bunk beds, 1977 138 x 205 cm Wool, plain technique Co-authors: Milenka Isakov, Smilja Živanović
ANA CICOVIĆ Pixellover, 2007 212 x 268 cm Volna, tapiserijska tehnika Soavtorici: Vesna Grbić, Verica Lazić Pixellover, 2007 212 x 268 cm Wool, plain technique Co-authors: Vesna Grbić, Verica Lazić
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NADA POZNANOVIĆ ADŽIĆ Izhod iz prostora, 1991, 2002 269 x 191 cm Volna, kombinirana tehnika Soavtorice: Rada Ilić, Jelena Božić, Mirjana Dobanovački
Exit, 1991, 2002 269 x 191 cm Wool, combined technique Co-authors: Rada Ilić, Jelena Božić, Mirjana Dobanovački
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DALIBORKA PEŠIĆ Pripravljanje večerje, 2001 170 x 149 cm Nepredena konoplja, tapiserijska tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Dinner making, 2001 170 x 149 cm Unspun hemp, plain technique Co-authors: Eva Đukić, Mirjana Dobanovački
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SNEŽANA SKOKO Sence, 1984 220 x 180 cm Konoplja, tapiserijska tehnika Tapiserijo naredila Snežana Skoko
Shadows, 1984 220 x 180 cm Hemp, plain technique Tapestry made by Snežana Skoko
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GROZDANA RANKOVIĆ ŽIVKOVIĆ Tomahavk, 2005 174 x 256 cm Volna, tapiserijska tehnika Soavtorica: Vesna Grbić
Tomahawk, 2005 174 x 256 cm Wool, plain technique Co-author: Vesna Grbić
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DALIBORKA ĐURIĆ Risba zraka in sonca, 2010 242 x 234 cm Konoplja, PVC folija, tapiserijska tehnika Soavtorici: Eva Đukić, Mirjana Dobanovački
Drawing of air and sun, 2010 242 x 234 cm Hemp, PVC, plain technique Co-authors: Eva Đukić, Mirjana Dobanovački
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NADA MANČIĆ Metulj, 1991 210 x 180 cm Volna, tapiserijska tehnika Soavtorica: Zuzana Andrašik
Butterfly, 1991 210 x 180 cm Wool, plain technique Co-author: Zuzana Andrašik
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SLOBODANKA ŠOBOTA Tapiserija, 1993 170 x 270 cm Volna, tapiserijska tehnika Soavtorici: Ana Šijački, Zuzana Andrašik
Tapestry, 1993 170 x 270 cm Wool, plain technique Co-authors: Ana Šijački, Zuzana Andrašik
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MAJA MIŠEVIĆ Moj lepi vrt, 2007 196 x 269 cm Volna, tapiserijska tehnika Soavtorici: Milica Kovač, Mirjana Dobanovački
My beautiful garden, 2007 196 x 269 cm Wool, plain technique Co-authors: Milica Kovač, Mirjana Dobanovački
ATELJE 61 – NOVI SAD TAPISERIJE SODOBNE SRBSKE UMETNOSTI POKRAJINSKI MUZEJ PTUJ - ORMOŽ ATELJE 61 Miheličeva galerija Ptuj 12 september – 27. oktober 2013 Založil: Pokrajinski muzej Ptuj - Ormož Zanj: Aleš Arih Izbor in postavitev razstave: Goranka Vukadinović Eva Ilec Besedila: Eva Ilec Goranka Vukadinović Lektor: Franc Vogelnik Prevod v slovenščino: Vlado Motnikar Prevod v angleščino: Tanja Ostrman Renault
Fotografije: Ivan Karlavaris Goranka Vukadinović Oblikovanje: s.kolibri Tisk: Repro studio Lesjak Naklada: 400 izvodov Razstavo in natis kataloga so omogočili: Pokrajinski muzej Ptuj - Ormož ATELJE 61, Ustanova za tkanje tapiserij, Novi Sad Mesto Novi Sad, Uprava za kulturo in Perutnina Ptuj d. d.